Kickended by Silvio Lorusso is online database artwork archiving the Kickstarted campaigns that got not even a single penny. This competitive aesthetics of failure has been able to attract the attention of major national newspapers (from the British “The Guardian” to the Italian “Corriere della Sera”).

Graphic Constellations: Visual Poetry and the Properties of Space, it’s an exhibition celebrating the 50th anniversary of the First International Exhibition of Concrete, Kinetic and Phonic Poetry held in Cambridge in late 1964. Curated by Bronac Ferran and Will Hill at the Ruskin Gallery in Cambridge, UK (Image: ‘Poemkon=D=4=Open=Apollinaire’).

The Pirate Bay computers and servers have been seized by Swedish Police on a data center in Nacka (Greater Stockholm). It’s offline since December 9. http://torrentfreak.com/swedish-police-raid-the-pirate-bay-site-offline-141209/

“Art Post-Internet” was an exhibition curated by Karen Archey and Robin Peckham for the Ullens Center for Contemporary Art in Beijing in spring 2014. This is the specially designed pdf catalogue whose with the front page is created each time with the IP and quite approximated location of the user. It includes tentatively definition of “post-internet” by Cory Arcangel, Simon Denny, and Bunny Rogers, art critics Ben Davis and Paddy Johnson, academics Mark Tribe and Esther Choi, and museum professionals Christiane Paul, Raffael Dörig, Jamillah James, Ben Vickers, Omar Kholeif and Gene McHugh.

Digital Performance

Abnormalities digital_arts, multilingual international journal under the direction of Emanuele Quinz, Professor of Aesthetics at the Department of Numerical Arts Dance and Music at the University of Paris, continues an interesting and detailed investigation into the relationship between the different arts and digital technologies, already begun in the first issue of the magazine with 'Du Corps A The Avatar'. In 'Digital Performance' priority is given to the analysis of a scene of interfaces applied to the specific perspective of the dance but by exploring the different contexts of the show, the performing arts, theater, drawing on videodrammaturgie the new spectacle of the very first Italian eighties. Transmutations of new electronic languages, tracing the traces of the original video innovations, abandoned the faint memory of groups like The Gay Science, Warehouse Criminals and Falso Movimento, seminal cells of multimedia, non-irradiated enough to actually rhizomatic thought and electronics. Enlightening of those events, although inevitably fragmentary reconstruction of the chronicles, the intervention of Andrea Balzola, effectively becoming proactive in the need for an inter-media visual arts. Lucid analysis, from the body of the techno-glam Dumb Type, to that of Stelarc obsolete, from interactive environments and synaesthetic Studio Azzurro, Massimo Cittadini, La Fura Dels Baus, in remote connections by Giacomo Verde, in anticipation of a web -cam-theater, poetry oblique, urban fragments reassembled in narration to Roberto Paci Dalò, artificial life and intelligent agents in the short essay on 'Procedural Drama' Antonio Pizzo. Twenty-two authors, full-bodied material, among them also quite heterogeneous but that overall ownership and passion contribute to the development of research into new configurations of the art system invested by the advent of digital.